Hitoshi Matsumoto* is fast becoming the master of something I guess we could call the cinematic shaggy-dog story. His movies never go where they're supposed to, are never about what they claim to be, and are always this way defiantly so. By the time I got to the homestretch of Matsumoto's Big Man Japan, I'd given up on even trying to figure out where the movie was going, but I also didn't feel like I was being punished for sticking it out. Its weirdness was rewarding.
Now comes R100, a movie about defeated expectations, both for the audience and the characters. That is both the best and worst thing about it. Best in that Matsumoto hasn't started playing it safe or cloning someone else's eccentricities (little is more depressing than watching a true original do that); worst in that the payoff we do get is so strange, so many levels removed from what even an existing Matsumoto fan could gear up for, that I wouldn't be surprised if even his longtime stalwarts write him off. I haven't, but I suspect I have an unfair advantage.